Dvorak, A :: Slavonic Dance Suite No. 1

Slavonic Dance Suite No. 1

Dvorak, A

International Music Company presents Antonin Dvorak's 'Slavonic Dance Suite No. 1' arranged for flute (and piccolo), B-flat clarinet, and piano by Michael Webster.

Notes from the arranger: 'Antonin Dvorak came to the attention of Johannes Brahms by winning several prizes between 1874 and 1877 from the annual Austrian State Stipendium, a competition for which Brahms was a judge. Late in 1877, Brahms made the munificent gesture of sending Dvorak's 'Moravian Duets' to his publisher, Simrock. Hoping to recreate the success of Brahm's 'Hungarian Dances', Simrock immediately commissioned Dvorak to write eight 'Slavonic Dances' for piano, four-hands, Op. 46. Simrock's hope was realized, and the 'Slavonic Dances' served to introduce Dvorak to an international audience for the first time. Several new works followed, cementing Dvorak's fame. Almost immediately, Simrock urged Dvorak to write a second set of dances, but he didn't respond until 1886, when he submitted eight more 'Slavonic Dances', Op. 76.
'Slavonic Dance Suite No. 1' opens and closes with dances from Op. 46, no. 8 and 6. Sandwiched between are nos. 14, 13, and 12 from Op. 76. The dances, which all appear in their original keys, were chosen for interesting relationships of key, mood, and tempo. Although arranged as a suite, the dances serve well in smaller groupings and as encores. Compared with Brahm's 'Hungarian Dances', they are longer, more substantial, and more intricately woven. They also have more variety of meter, Brahms having restricted himself to duple meter for all o the 'Hungarian Dances'. Like the 'Hungarian Dances', the 'Slavonic Dances' offer extremely contrasting moods, both among the various dances and within each dance as well.
Almost all of the editorial questions relate to articulation, for which I have chosen a middle ground between retaining the original markings for piano and changing some to suit the woodwind instruments. Often Dvorak includes a repeated note under a slur. In some cases I retained the big slurs; in others I removed them for clarity. Dvorak also uses two forms of accent: standard and inverted V. The difference between the two is subtle and subject to individual interpretation, but I have retained the original accents in almost all cases. Dots are another issue. Dvorak is less clear and consistent with dots than with accents, so I have added some staccato marks where they seem appropriate for the flute and clarinet. In all cases, the governing factor is the performers' good taste.'